The Goethe-Institut Nigeria and Communicating for Change (CFC) recently held a roundtable event on the Nigerian film industry, looking at the issues affecting its future, as well as the progress that has been made.
The roundtable touched upon piracy, funding and distribution – all factors that have combined to produce a lull in Nigerian film production. Suggestions to strengthen the industry were also considered, with calls for more capacity building and financial investment.
The survival of Nollywood is of paramount importance as the industry not only plays an important economic role in creating employment and generating income, but also plays an important cultural role, helping to re-brand Nigeria’s tainted ‘419’ image abroad, replacing it with creativity and culture.
“Over the last five years, I’ve noticed that people are producing less films due to a fear of piracy and a lack of understanding of the new distribution framework,” said Peace Anyiam-Osigwe, an established filmmaker and founder of the annual African Movie Academy Awards (Amaa). “But more positively there’s been an improvement in the quality of films, with more Nigerian films being accepted at international film festivals.”
“Nollywood might not be here in a year due to piracy,” said Teco Benson, a film director and CEO of TFP Studios. “People can hawk films freely on the street, the fines are minimal and the NCC doesn’t have enough bite. Nollywood is the hope of this country; we need the support of government to protect intellectual property rights.”
Providing the government’s response to piracy, Emeka Ogbonna, zonal manager, Nigerian Copyright Commission (NCC) said: ‘Despite our insufficient funding, locally a lot has been done to regulate the production of DVDs; we have introduced regulation, minimum standards for NCC officers and undertake night time inspections of suspected piracy plants.”
“The fundamental problem is that of distribution,” said Madu Chikwendu, producer/director, and the organiser of the Lagos International Film Festival. “Outside of Nigeria, there is a huge demand for our films, and to meet this demand, our films are distributed illegitimately, resulting in a huge loss of revenue for the industry, which leads to a corresponding loss in quality. You can’t talk of quality control when people can’t afford to eat.”
John Okonkwo, Goodlife Production Ltd, based in Alaba market, spoke of the need to include all elements of the industry in distribution reforms. “Many of the main film distributors are not educated and find it difficult to relate to those that use ‘big grammar.’ It’s a big barrier and more needs to be done to carry these people along.”
“Banks and financiers are motivated by profit. They don’t want their money to go in one direction; they need to know that their money will get back to them, with a return,” said Yewande Sadiku, head of Corporate Finance, Stanbic IBTC Bank Plc, addressing the difficulties of filmmakers in obtaining funding.
Chike Ofili, a poet, screenwriter and researcher of Nollywood, said: “The guilds need to represent the industry and be a place for dialogue, a place for scriptwriters and producers to meet and critique their work. When mental infrastructure has been built, other things can follow.”
Similarly, Jahman Anikulapo, a notable Nigerian art critic and editor of The Guardian on Sunday newspaper highlighted his disappointments regarding the industries priorities. “Instead of celebrating individuals and short term successes, the industry needs to take a long term view, by building lasting structures that will improve Nollywood,” he said.
“Despite its challenges, Nollywood is developing,” said Sandra Mbanefo Obigao, executive director, CFC, who chaired the roundtable. “CFC is committed to using its unique position, as a producer of development films and a champion of the creative industries, to encourage stronger links between the creative and commercial sectors as well as between film and Nigeria’s rich and well developed art and literary scene.”
